Marth Muffins
Gwendy's Magic Feather
The sequel to Gwendy's Button Box is a curious book. Like Stephen King's foreword says it wasn't ever really meant to exist, Button Box was intended as a standalone and it works perfectly as that in how self-contained it is and how neatly it wraps itself up. But here we are with a second (and later third) book expanding Gwendy's story and as of right now I'm wondering "why?" Magic Feather feels like it's repeating a lot of the same beats as Button Box and whilst its shorter timescale, it takes place over about three-ish weeks compared to the first book's decade or so, does help focus it and more satisfyingly build Gwendy's relationships I'm still left with an overwhelming sense of déjà vu in terms of the themes and situations it's exploring. We get the same exploration of responsibility with the button box itself, more examinations of pre-destination and such, and I'm just left wondering why we're looping.
The actual plot doesn't help with this either. It's very perfunctory: there's a serial killer in Castle Rock who needs to be stopped but the book barely dips into that storyline and when it does it's very half-hearted, and leads a truly terrible and disappointing resolution. There is a subplot about the president who's not based on anyone at all antagonising North Korea which is interesting but it never comes to anything either, and the whole book feels far more open ended than the first in a way that's just unsatisfying and obviously setting up for a sequel.
What does shine here however are the character relationships. Gwendy's relationship with her parents is explored much more here and it's really good to see, especially the whole struggle dealing with her mother's cancer which becomes the book's primary focus. Her parents are kind of distant forces in the first novella and it's nice to see them as a warmer, more human presence here. But even the relationships that are less focused on are good: Gwendy's husband Ryan is absent for much of the book but his presence is always felt, Gwendy's relationship with new sheriff of The Rock Norris Ridgewick is solid, and there are a host of minor characters that stand out. Taken as a "slice of life in Castle Rock" story this is enjoyable, and it draws on The Rock's history in King's work without it ever being overwhelming or feeling like fan service. It also takes a lot of King's ideas about the town from his Castle Rock novella Elevation, released the year before this, but where Elevation feels sterile and I never really got a sense of the town Castle Rock feels lived in here.
But yes, whilst I definitely enjoyed a few aspects of this book it does leave me wondering why exactly it exists. Overall I had a good time, and I'm still excited to get to the third book when I do, but this was a definite step down from Gwendy's Button Box and I hope Gwendy's Final Task can bring the series back up to the first book's level, or exceed it.
Gwendy's Magic Feather
The sequel to Gwendy's Button Box is a curious book. Like Stephen King's foreword says it wasn't ever really meant to exist, Button Box was intended as a standalone and it works perfectly as that in how self-contained it is and how neatly it wraps itself up. But here we are with a second (and later third) book expanding Gwendy's story and as of right now I'm wondering "why?" Magic Feather feels like it's repeating a lot of the same beats as Button Box and whilst its shorter timescale, it takes place over about three-ish weeks compared to the first book's decade or so, does help focus it and more satisfyingly build Gwendy's relationships I'm still left with an overwhelming sense of déjà vu in terms of the themes and situations it's exploring. We get the same exploration of responsibility with the button box itself, more examinations of pre-destination and such, and I'm just left wondering why we're looping.
The actual plot doesn't help with this either. It's very perfunctory: there's a serial killer in Castle Rock who needs to be stopped but the book barely dips into that storyline and when it does it's very half-hearted, and leads a truly terrible and disappointing resolution. There is a subplot about the president who's not based on anyone at all antagonising North Korea which is interesting but it never comes to anything either, and the whole book feels far more open ended than the first in a way that's just unsatisfying and obviously setting up for a sequel.
What does shine here however are the character relationships. Gwendy's relationship with her parents is explored much more here and it's really good to see, especially the whole struggle dealing with her mother's cancer which becomes the book's primary focus. Her parents are kind of distant forces in the first novella and it's nice to see them as a warmer, more human presence here. But even the relationships that are less focused on are good: Gwendy's husband Ryan is absent for much of the book but his presence is always felt, Gwendy's relationship with new sheriff of The Rock Norris Ridgewick is solid, and there are a host of minor characters that stand out. Taken as a "slice of life in Castle Rock" story this is enjoyable, and it draws on The Rock's history in King's work without it ever being overwhelming or feeling like fan service. It also takes a lot of King's ideas about the town from his Castle Rock novella Elevation, released the year before this, but where Elevation feels sterile and I never really got a sense of the town Castle Rock feels lived in here.
But yes, whilst I definitely enjoyed a few aspects of this book it does leave me wondering why exactly it exists. Overall I had a good time, and I'm still excited to get to the third book when I do, but this was a definite step down from Gwendy's Button Box and I hope Gwendy's Final Task can bring the series back up to the first book's level, or exceed it.
Closure, Limited and Other Zombie Stories - 1.5/5
Aside from the solid title story you have a really weak, insubstantial story in 'Steve and Fred', an conceptually interesting but poorly executed "Vampires in the Zombie Apocalypse story" in 'The Extinction Parade', and what feels very much like a cut story from World War Z which was removed for good reason in 'Great Wall'. So yeah, 'Closure, Limited' was decent enough but it really doesn't save the collection from being painfully mediocre, although I am interested in checking out any other stories with the same premise as 'The Extinction Parade' but which are executed far better.
Closure, Limited and Other Zombie Stories - 1.5/5
Aside from the solid title story you have a really weak, insubstantial story in 'Steve and Fred', an conceptually interesting but poorly executed "Vampires in the Zombie Apocalypse story" in 'The Extinction Parade', and what feels very much like a cut story from World War Z which was removed for good reason in 'Great Wall'. So yeah, 'Closure, Limited' was decent enough but it really doesn't save the collection from being painfully mediocre, although I am interested in checking out any other stories with the same premise as 'The Extinction Parade' but which are executed far better.
Spock Must Die!
I largely read this book because it's the first original adult Star Trek novel released telling a story that wasn't first broadcast as an episode of the show, which as a fan of Trek and tie-in media I was very interested in seeing the origins of original Trek books + it kinda acts as the origin of original tie-in media, as such a thing didn't really exist until Trek started putting out licensed books inspired by the fanfic culture that was built around the series in the 1970s. So from that perspective the book is a really interesting piece of literary history, but how is it as an actual reading experience?
Look, it's not great alright. It's aged incredibly poorly in a few ways, especially when it engages in some casual what I would call "liberal racism" whenever Uhura is on page or has this weird aside about why white women wanna fuck Spock which is kinda interesting in that it's lampshading the fandom but also just becomes weirdly racist at the end. The series also just makes weird, out-of-left field "scientific" claims like people only develop stutters because they were forced to go from being lefthanded to right which, huh? And whilst I do think the character voices are fairly well realised (well, the Scotty dialogue is very painful to read due to all the fake Scots gibberish but anyways) their internal logic just doesn't match up a lot of time and they make dumb decisions in service of not resolving the plot too quickly.
However I did enjoy some aspects of the book, specifically how weird it got in the back third which felt very in keeping with Star Trek as a whole and was a fun read. I also love how bold the ending is, it puts it way out of ever being actually worked into Trek continuity at all but it's very fun in how it just changes up the whole universe.
Anyways, a fun book to check out, and one I do not recommend.
Spock Must Die!
I largely read this book because it's the first original adult Star Trek novel released telling a story that wasn't first broadcast as an episode of the show, which as a fan of Trek and tie-in media I was very interested in seeing the origins of original Trek books + it kinda acts as the origin of original tie-in media, as such a thing didn't really exist until Trek started putting out licensed books inspired by the fanfic culture that was built around the series in the 1970s. So from that perspective the book is a really interesting piece of literary history, but how is it as an actual reading experience?
Look, it's not great alright. It's aged incredibly poorly in a few ways, especially when it engages in some casual what I would call "liberal racism" whenever Uhura is on page or has this weird aside about why white women wanna fuck Spock which is kinda interesting in that it's lampshading the fandom but also just becomes weirdly racist at the end. The series also just makes weird, out-of-left field "scientific" claims like people only develop stutters because they were forced to go from being lefthanded to right which, huh? And whilst I do think the character voices are fairly well realised (well, the Scotty dialogue is very painful to read due to all the fake Scots gibberish but anyways) their internal logic just doesn't match up a lot of time and they make dumb decisions in service of not resolving the plot too quickly.
However I did enjoy some aspects of the book, specifically how weird it got in the back third which felt very in keeping with Star Trek as a whole and was a fun read. I also love how bold the ending is, it puts it way out of ever being actually worked into Trek continuity at all but it's very fun in how it just changes up the whole universe.
Anyways, a fun book to check out, and one I do not recommend.
